High-quality, low-cost loudspeaker systems are not an everyday blessing. The Rogers LS3/5a has survived for more than a decade precisely because so few US manufacturers sought musical accuracy as distinguished from high output and powerful bass. The economics of loudspeaker manufacture also don't lend themselves to economy. The cost of woodwork is driving the price of speakers up almost as fast as the cost of sheet-metal work is escalating the price of electronics.

The least expensive model in Paradigm's Reference series, the Studio/20 loudspeaker is a rear-ported two-way dynamic bookshelf/satellite design, superficially identical to the powered Active/20 that JA reviewed last November. It features Paradigm's 25mm PAL pure-aluminum dome tweeter in a die-cast heatsink chassis, and a 170mm MLP mica-polymer cone in an AVS die-cast heatsink chassis with a 38mm voice coil. The crossover is third-order, quasi-Butterworth, said to be "phase-coherent." It features high-power ceramic resistors, film capacitors in all signal paths, and both air-core and steel-core inductors.

What kind of speaker can you get for $250/pair? The most tightly contested sector of the speaker market in the UK is right around that price. If you want to be competitive in Old Blighty, you have to offer something pretty special in that range—and because the stakes are so high, the competition is fierce.

While large, floorstanding speakers appear to offer the most material for the buck, I feel that small stand-mounted speakers both offer the best value in sound quality, as well as standing the best chance of sounding good in moderate-sized listening rooms. In recent months Stereophile has reviewed a varied group of such speakers. In order of descending price, these include the Acoustic Energy AE2 Signature ($5495/pair, November '95); Dzurko Acoustics Jaguar ($4500/pair, reviewed elsewhere in this issue); Totem Mani-2 ($3995/pair, February '96); Platinum Audio Solo ($2498/pair, November '95); Coincident Speaker Technology Troubador ($1495/pair, January and February '96); Joseph Audio RM7si ($1299-$1499/pair, February '96); Acarian Alón Petite ($995-$1195/pair, January '96); Phase Technology PC80 II ($699/pair, December '95); and Spectrum 108cd ($399/pair, December '95).

While large, floorstanding speakers appear to offer the most material for the buck, I feel that small stand-mounted speakers both offer the best value in sound quality, as well as standing the best chance of sounding good in moderate-sized listening rooms. In recent months Stereophile has reviewed a varied group of such speakers. In order of descending price, these include the Acoustic Energy AE2 Signature ($5495/pair, November '95); Dzurko Acoustics Jaguar ($4500/pair, reviewed elsewhere in this issue); Totem Mani-2 ($3995/pair, February '96); Platinum Audio Solo ($2498/pair, November '95); Coincident Speaker Technology Troubador ($1495/pair, January and February '96); Joseph Audio RM7si ($1299-$1499/pair, February '96); Acarian Alón Petite ($995-$1195/pair, January '96); Phase Technology PC80 II ($699/pair, December '95); and Spectrum 108cd ($399/pair, December '95).

At the 1994 Summer CES, I was sitting in ProAc's room listening to Vangelis's Blade Runner score, when a couple of guys walked in carrying a shiny black board. "This is pretty interesting stuff," one of them said. "Want to hear it?"

Let me take you back some 40 years to the mono days of the early 1950s. It's unlikely that the minimonitor genus of loudspeakers, of which this French JMlab is a prime example, would have survived back then. There was the practical problem of available amplifier power. The average amp could squeeze out no more than 10 to 15W into an 8 ohm load—far less power than the typically insensitive minimonitor demands for adequate dynamic headroom. But that in itself would not have sufficed to displace the minimonitor from the marketplace. After all, "high-power" amps (50-watters) could be had at a price.

What makes someone a good hi-fi reviewer? A fine critical sensibility? A good technical background? Ears? Eyes? Nose? Throat? So many different people are reviewing audio gear these days that it's downright impossible to characterize a good reviewer. But I do know that Beavis and Butt-head would make killer hi-fi reviewers!

"Uhh! What is it?" I was being prodded on the arm. Admittedly it was gentle, almost polite prodding, but prodding it still was, a rude disturbance of the cocoon I had woven around myself in seat 31J of the American Airlines MD-11 winging its way across the North Atlantic. I pushed Pause on the Discman, insensitively not waiting for an opportune cadence in the Brahms Piano Quintet that had been my erstwhile virtual reality.